Buckle Up, Liz Is Driving

An Interview with Stowe Alum and Phenom Screenwriter/Director/Creative Producer Liz Cardenas

 Alum Liz Cardenas worked with us in 2018 at the Palm Springs Writers’ Retreat. Since then, she’s not stood still it seems for more than one minute. To cap her recent work, she was nominated this year for the Spirit Awards Emerging Producer of the Year. And she’s a writer/director.

Beyond this uncommon ability to navigate the multi-hyphenate universe of an independent filmmaker, and beyond her unrelenting drive and talent, she has a process.

We discussed the process in the whirlwind following the Spirit Awards, and I’m pleased to share Liz’s thoughts on filmmaking, writing, managing time, managing people, and making art.

Interview by David Rocchio

You've been incredibly busy since we worked together so long ago. Can you tell us a bit about how your career has advanced and what you've worked on?

I participated in 2018 at the Palm Springs Writers’Retreat, I believe, with a script I wrote, Mile High Mary, and I’ve continued to do revisions on it, and still plan to make it!

I’ve written two other narrative feature screenplays since – one of which made it to the final round of the Sundance Producers Lab (submitted by my producer) and the other made it to the Semi-Finals of the Austin Film Festival Screenplay Competition this past year (Fall 2022).

Although I started off as a writer, a journalist, specifically, I’ve had the most success being a creative producer on independent feature films, so my writing has been on the side. And it’s hasn’t been easy carving out the time. I’ll write at night after producing all day or on weekends, or I’ll try to find a week or two in between films. But the writing (and even directing, too) remains a focus of mine, though I will continue to produce. I’m just making it more of a priority.

Following the Palm Springs Writers Retreat, which was incredible, I was nominated for a Film Independent Spirit Award for Never Goin’ Back, which was released by A24 and had come out prior to the retreat, and I was named to the 2019 LATINXT, a highly curated list of emerging Latinx creators from an initiative by Zoe Saldana, Lin-Manuel Miranda and Robert Rodriguez.

While at the Retreat, I had a film in post-production. Materna premiered at Tribeca 2020, where it won Best Cinematography and Best Actress awards and was released by Utopia. In addition, I produced – including filming – four features and a few short films since the retreat. 7 Days won the 2022 Independent Spirit Award for Best First Feature, which I produced for Duplass Brothers Productions. Burros, which we filmed on the Tohono O’odham Nation Reservation and is in English, Spanish and Tohono O’odham, premiered at Tribeca 2021 and qualified as a Live Action Short Film for the 2023 Academy Awards. Acidman premiered at Tribeca 2022 and is coming out March 31st (limited theaters, multiple platforms VOD). It stars Thomas Haden Church (Sideways, Tombstone, Spider-Man 3) and Dianna Agron (Glee, Shiva Baby), and was directed by Alex Lehmann (Blue Jay, Paddleton, Meet Cute). And then, I have two features in post-production, which I shot this past Summer 2022, and two features in development, one inspired by the short, Burros. On all of these I am a producer.

Furthermore, I’m attached to direct a feature I didn’t write, and I want to direct one of the scripts I did write after that. And I’m working on a TV series concept inspired by a short film I wrote and directed, Imago. I’m collaborating with an incredible artist and filmmaker friend, Lio Mehiel, who just starred in the Sundance 2023 film, Mutt. The show is about a Hispanic trans teen in Texas, and we’re working on our pitch deck after having a great response from some generals.

That’s a lot. You have the energy of a small nuclear power cell. Tell us what you’ve loved working on the most.

It is difficult to name a favorite project I worked on because I’m so emotionally attached to all of them. As an indie producer who has worked on passion projects in the lower budget space, you spend years working on them for very little money so you have to truly love what you’re working on and hopefully who you’re working with. I’ve been very fortunate.

I will say 7 Days has an extra special place in my heart for many reasons. First, we filmed in September 2020, when there was still so much uncertainty with COVID. We quarantined before shooting the film and we filmed with a small cast and crew in a bubble in the desert and became a family. I’m so proud of our little film, which is an example of what you can do with a limited budget and resources but with great storytelling.

 I’ve become such good friends with my filmmakers, too – Roshan Sethi, who directed and co-wrote the film (he’s such a talented writer – he also wrote Call Jane and the TV show The Resident) and Karan Soni, who co-wrote and starred in the film. He’s been in Ghostbusters, Deadpool, The People We Hate at the Wedding, among many others, and is on a TV show, Miracle Workers, with Geraldine Viswanathan, who also starred opposite him in 7 Days. They are both so incredibly talented and also the kindest and most fun to be with on set. Lastly, it was a mentor of mine, Mel Eslyn, President of Duplass Brothers Productions, who brought me the project. Working with her and DBP was so great. Mark Duplass even has a fun voice role in the film!

As you establish yourself as a filmmaker, how do you evaluate the writing on your projects (whether your own work or others)? What resonates and what makes you think 'well, this is going to be a lot of work'?

I have to feel something — have an emotional connection to the material. I want to cry or laugh or be scared or be on the edge of my seat. I want to think about the story and characters, long after I finished reading it. The material has to be compelling, making me want to keep flipping the page – and ultimately help make it into a movie.

And scripts that are clear and concise with key elements that pop off the page are so much easier to read, and that is always preferable.

In the things I write, again, if I feel something, I know I’m on the right track. And if I see it, the scenes playing out in my mind, then I feel good about what I’m writing. Are the stakes are great enough? Is there enough tension or conflict or struggle, internally or externally? Is it compelling and always escalating? I go through and try to make sure my characters each have their own voice. If it’s a heavy or dark film, I want there to be some levity.

And then with scripts I read, I always look for authenticity and a specific point of view. And, to that note, on the things I write, I always ask myself, what am I trying to say? Why do I want to make? What would I want to watch? And what at its core is the story really about? I need to be able to answer all those questions.

It is so important, with all the stories being written and all the indie films being made, you make bold choices. You hone in on what makes your story unique — something we haven’t read or see before — and make your voice original, specific to YOU.

Then, it terms of coming on board to make the film, I do look at how much it would take to make it — budget-wise, logistics, etc. And does the story/concept (depending on the cast) support that budget.

Finally, and not to bury the lead, but congratulations on the Film Independent Spirit Awards Emerging Filmmakers Nomination for Best Emerging Producer (and one of your fellow nominees – Tory Lenosky – who won the award, is a mentor with us as well).

Please talk about your work as a producer. What do you look for in projects? How do you build your teams? And what do you think makes you excel at the work of producing independent cinema? (Okay, that's three questions but please only count it as one!).

Well thank you. It was such an honor to be nominated – and with my fellow nominees.  As I mentioned, I started off as a writer. I was a writer and an actress first, then a producer and then I directed two short films. I’ve also edited shorts and features. Being a producer felt so empowering – helping get things made, as opposed to hoping someone would cast me in a role or buy a script I wrote. And I learned so much about storytelling being a creative producer, working with talented writer-directors and being a part of the process from A to Z. I am also a team-oriented person who loves collaboration. I also think back background and experience as a writer, actor, director and editor has helped me be a good producer.

As I’ve chosen projects to produce and continue to do so, I start off from a creative or instinctual place. I look for films with an authentic voice, one that’s singular, specific and unique. I want storytellers to have a need to tell this particular story and it has to resonate with me. Once I believe it, feel it and am excited about the possibility of helping bring it to life on screen, then I think in more of an analytical and logistical way. Who would the audience be? How can I raise the money? And that’s when you get into conversations about what the budget should be, who the cast should be, where should you shoot it. Those are all creative and logistical conversations and discussions you have with your filmmaker, and you want to make sure you’re on the same page.

And then, it’s also chemistry or energy. In addition to sharing a creative vision, you have to want to work alongside that person for a long time. Life is too short and this business is too difficult to work with negative or toxic people. So I think about that when I join forces with a writer/director and when I’m hiring crew and building a team. Talent, a strong work ethic and a positive mindset are all so important.

There are people I’ve worked with before who I reach out to when building a team, and then I’m always asking for referrals. Ideally I want to find people who actually connect with the material, I try to create diverse crews and casts, and I love giving talented people an opportunity if they haven’t really been given one.

My reputation is very important to me, and actions speak louder than words – though I believe communication is one of the most important things. I want to be seen as someone who is responsible, trustworthy, ethical, kind, friendly and creative because I want to be all those things. And if those qualities are important to me, which they are, I’ll demonstrate them through my actions.

I want to be seen as someone who has good taste, who will fight for my film and my director’s vision, and is supportive of everyone on the team and is also solutions-oriented. I think I make everyone feel seen and heard. I try to create a safe (and fun) environment to work, where creativity and inspiration can flourish, and I take my responsibility of making a quality picture on time and on budget very seriously. It’s important for me to be a leader, yet at the same time, be accessible. I want to be a producer anyone on set can talk to or bring up an issue or a concern – from an A-list star to a PA. I think all those things make a good producer.